Academy of St Martin in the Fields Program

PROGR A M

Academy of St Martin in the Fields Jeremy Denk, piano Tomo Keller, director FRIDAY, MARCH 8, 2019 • 8PM Jackson Hall, UC Davis Sponsored by

Individual support provided by James Bigelow

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R O B E R T A N D M A R G R I T M O N DAV I C E N T E R F O R T H E P E R F O R M I N G A R T S P R E S E N T S

Academy of St Martin in the Fields Jeremy Denk, piano Tomo Keller, director

PROGRAM Concerto a Cinque in A Minor, Op. 5, No. 5 Tomaso Albinoni Allegro (1671–1751) Adagio Allegro Symphony in E-flat Major, Wotquenne 179, H. 654 Carl Philipp Emanuel Bach Prestissimo (1714–1788) Larghetto Presto Piano Concerto No. 12 in A Major, K. 414 (K. 385p) Wolfgang Amadeus Mozart Allegro (1756–1791) Andante Allegretto

Jeremy Denk, piano — INTERMISSION —

Young Apollo for Piano and Strings, Op. 16 Benjamin Britten Jeremy Denk, piano (1913–1976) Symphony No. 44 in E Minor (“Mourning”) Franz Joseph Haydn Allegro con brio (1732–1809)

Menuet (Canone in Diapason): Allegretto Adagio

Finale: Presto

The Academy’s work in the U.S. is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields.

Steinway Piano Exclusive Management for Mr. Denk & the Academy of St Martin in the Fields: OPUS 3 ARTISTS 470 Park Avenue South, 9th Floor North, New York, NY 10016 | www.opus3artists.com Performing parts based on the critical edition Carl Philipp Emanuel Bach: The Complete Works (www.cpebach.org) were made available by the publisher, the Packard Humanities Institute of Los Altos, California.

The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

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CONCERTO A CINQUE FOR STRINGS IN A MINOR, OP. 5, NO. 5 (1707) TOMASO ALBINONI (Born June 8, 1671 in Venice Died January 17, 1751 in Venice) Tomaso Albinoni, one of the brightest musical lights in Venice when it was the most glamorous and exotic city in the Western world, was born to a wealthy paper merchant in that greatest publishing center south of the Alps. Albinoni learned violin and singing as a boy, and he gained his earliest recognition as a composer in 1694 with the opera Zenobia and a set of 12 trio sonatas, which he signed “Musico di violino dilettante veneto” (“Venetian amateur violinist”), indicating that he was a man of independent means who delighted in music. Though he may have briefly occupied a position for Carlo di Gonzaga, Duke of Mantua, except to oversee productions of his operas in Florence and Munich, Albinoni remained in Venice for all of his long life. When his father died in 1709 and left the family business to him and his two brothers, the heirs discovered enough debts to virtually wipe them out financially. Albinoni opened a singing school from which he subsequently derived much of his income and continued to compose prolifically. Though he lacked the brilliance and invention of his renowned Venetian contemporary Antonio Vivaldi, Albinoni was a musician of considerable technical accomplishment with an exceptional gift for melody, as attested by his excellent success as a vocal composer.

Albinoni’s Op. 5, published in Venice in 1707 with a dedication to Carlos Felipe Antonio Spinola Colonna, the viceroy of Sicily who was a regular visitor to Venice at carnival time, includes 12 Concerti a Cinque (“Concertos in Five Parts”) for strings. The Concerto in A minor, Op. 5, No. 5 allows for some tasteful solo display within its three compact movements, which are arranged in the customary fast–slow– fast pattern: a buoyant opening Allegro, a soulful Adagio and an energetic finale.

SYMPHONY IN E-FLAT MAJOR, W. 179 (H. 654) (1757) CARL PHILIPP EMANUEL BACH (Born March 8, 1714 in Weimar Died December 14, 1788 in Hamburg) Carl Philipp Emanuel Bach, Johann Sebastian’s fifth child and his third (second surviving) son, composed 19 symphonies, split about evenly between his tenures in the musical establishment of Frederick the Great of Prussia in Potsdam, near Berlin (1738–1767) and as director of music for the churches of city of Hamburg. The Symphony in E-flat major (W. 179, H. 654) was written in 1757, during his years at the court of Frederick the Great. Like many symphonic works of the early Classical period—Haydn did not write his first symphony until two years later; Mozart was not yet out of diapers—it is in three movements, lacking both a minuet and the crisp, settled forms that later became integral components of the genre. The opening movement has two distinct themes, as in mature sonata form—one full of bustle and energy,

the other soft and poignant—that are subjected to various repetitions and permutations and brought back more or less intact toward the end, but the dominant characteristics of this music are its irresistible propulsion and its unpredictability: whiplash dynamic changes, sudden silences, arrestingly arbitrary phrasing, wayward melodic notes, even a finish that does not so much end as just stop. These techniques also apply in the Larghetto, though its expressive attitude is one of lament rather than exuberance. It, too, just stops, so the assertiveness with which the closing movement begins is almost startling. The finale’s form is more assured, its parts snapping convincingly into place, with an emphatic ending that provides a satisfying musical punctuation.

PIANO CONCERTO NO. 12 IN A MAJOR, K. 414 (K. 385p) (1782) WOLFGANG AMADEUS MOZART (Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna) Mozart’s first years after moving to Vienna in 1781 from his native Salzburg were good. He was happy with his marriage. He was in demand as a pianist and composer, with a reputation that extended through much of Europe. He was invited to perform at the houses of important members of the Viennese aristocracy. Publishers and music dealers vied for his works. The concerts he produced were well attended.

Everyone, it seemed, talked of him.

In autumn 1782, he began planning his concerts for the following Lenten season. (Opera was forbidden in Catholic Austria during the Lent, and early spring was the only time of the year when auditoriums were free for instrumental concerts.) By December, he was at work on a series of three new concertos (K. 413, 414, 415), the first he composed after moving to Vienna. There is evidence that he took care to please a wide audience with the works: In addition to their easily accessible musical style, their orchestration was devised so that the wind parts were expendable, thereby making them performable by as small an ensemble as a string quartet.

The melodies of the A major Concerto’s opening movement are stated by the ensemble: an ingratiating main theme juxtaposing a sweet, rising motive and a skipping descent down the scale; a vigorous dialogue; a hesitant little tune given by the violins above a pizzicato bass line; and some compact cadential material. The pianist enters and weaves a brilliant embroidery around the melodies, which are reiterated from the introduction. After a central section based on a new octave-leap motive, a short cadenza leads to the recapitulation of the themes. The Andante, whose principal theme Mozart borrowed from the overture to his friend Johann Christian Bach’s opera La calamitá dei cuori (“The Calamity of Hearts,” 1763), is one of the tenderest and most touching slow movements among his works. The Concerto’s finale is a sparkling rondo.

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YOUNG APOLLO FOR PIANO AND STRINGS, OP. 16 (1939) BENJAMIN BRITTEN (Born November 22, 1913 in Lowestoft, Suffolk Died December 4, 1976 in Aldeburgh, Suffolk) In Greek and Roman mythology, Apollo was one of the 12 Olympians, the gods who supplanted Hyperion and his fellow Titans. Apollo, son of Zeus and Leto, was recognized as the leader of the Muses and their arts of music, poetry, dance and drama as well as the god of light and the sun. His attributes included the lyre, and he was regarded as the perfect embodiment of the kouros, the beautiful “beardless youth.”

Benjamin Britten, well versed in ancient mythology, wrote of the expressive linchpin of his Young Apollo: “The end of one order of gods has come. Saturn, Hyperion and the other ancient gods, who ruled the world by might and terror, have to make way to the new order—gods of light, youth, beauty and laughter. Apollo, called to be the new god of beauty by Mnemosyne, the old goddess of memory, foresees his destiny; and in one final convulsion throws off his mortal form. He stands before us—the new, dazzling Sun-god, quivering with radiant vitality.” Britten referred to the piece as a “fanfare” and it is, indeed, one of his most brilliant and luminous creations, rooted throughout in the sun-bright harmony of A major, shimmering in sonority, muscular in motion. Young Apollo opens with a soft pulsing foundation in the string orchestra above which the piano stretches ribbons of scales that elicit leaping responses from the string quartet. A solo piano cadenza leads to an Allegro molto passage of bursting youthful energy and radiant scoring. The tempo slows for a broad, impassioned reprise of the string quartet’s leaping theme from the introduction. The piano resumes its flying scales and the music is reenergized before it concludes with a final reminiscence of the quartet’s leaping motive.

SYMPHONY NO. 44 IN E MINOR, “MOURNING” (1770–1771) JOSEPH HAYDN (Born March 31, 1732 in Rohrau, Lower Austria Died May 31, 1809 in Vienna) It was on the strength of such works as Haydn’s Symphony No. 44 that the Classical style entered the period of its full maturity around 1770. The uncluttered textures, periodic melodies and carefully segmented forms essential to the stylistic vocabulary of Classicism had appeared as early as 1720 in Italy, and were first hammered into an independent symphonic genre about 20 years later. Haydn began composing symphonies in 1759, and experimented constantly with the form for the next decade before hitting upon the manner of combining the instrumental and compositional resources of the Classical style with the expressive profundity of older Baroque music. He jostled techniques borrowed from fugues, church sonatas and concertos with balanced, folklike melodies, simple dance forms and purified harmonies until his perfected versions of the symphony, quartet and trio emerged quite suddenly just after 1770. “In the development of almost any great composer,” wrote the eminent Haydn scholar H.C. Robbins Landon, “there comes a surge of

brilliant works that mark the advent of his maturity ... Not even the finest of the works prior to 1770 quite prepare us for the fascinating and profound series of symphonies written [by Haydn] in 1771 and 1772.” The Symphony No. 44 is among the first masterworks of the German symphonic tradition.

The Symphony No. 44 is said to have gained its sobriquet— “Mourning”—because the composer asked that its slow movement be played at his funeral. (The request, if true, would have been difficult to grant in any case, since Haydn died in Vienna on May 31, 1809, just two weeks after Napoleon’s troops had occupied the city.) The Symphony’s somber E minor tonality is heightened by enormous rhythmic energy and expressive tension to create a work that Robbins Landon judged to have “overwhelming intensity,” reaching “new heights of nervous power” in its finale. “These new symphonies [of the early 1770s] still impress for their striking sincerity and directness,” wrote Jens Peter Larsen.

“In their own time, they must have come as a revelation.

The symphony was by that date more or less established as an elegant piece of entertainment for a noble audience, and Haydn had the courage to write symphonies that were completely different.”

The Symphony No. 44 opens with a bold, unison presentation of its craggy main theme—a sharp leap upward, followed by quiet, sighing figures and a pathos-laden melody for the violins. The music becomes more animated, and moves grudgingly and with little conviction into the brighter major tonality of the subsidiary subject. The development section is restless and premonitory, and leads seamlessly to the recapitulation of the earlier themes, which are returned fully in the sunless home key of E minor. After the enervated drama of the first movement (Robbins Landon once wondered if some of Haydn’s lost incidental music for a production of Hamlet might have ended up in this Symphony) comes not the expected Adagio but instead a Menuetto written as a strict canon [i.e., imitation] at the octave (the movement is subtitled “Canone in Diapason”) between the outer voices.

The placement of this dance-based movement as the second element in the architecture of the Symphony is a stroke of genius, since its abbreviated form and restrained expression allow it to serve as a buffer separating the tragic opening Allegro and the deeply felt Adagio. (Beethoven adopted the same structural plan in his Ninth Symphony for a similar reason.) As a foil to the rugged strains of the Menuetto, Haydn wrote a sweet, lyrical central trio in the halcyon tonality of E major. The blissful strains of the Adagio, given in the veiled sonority of muted strings, are not only beautiful in their own right but also throw into relief the turbulent character of the surrounding music. The finale, according to Robbins Landon, “is perhaps the most concentrated and overwhelming Sturm und Drang movement Haydn ever wrote: In the development section, the tension, and the line, rise in jagged motivic sequences to the point of exhaustion.” It is with such highly charged 18th-century symphonic adventures as this remarkable Symphony that the seeds for musical Romanticism were sown. ©2019 Dr. Richard E. Rodda

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ACADEMY OF ST MARTIN IN THE FIELDS The Academy of St Martin in the Fields is one of the world’s finest chamber orchestras, renowned for fresh, brilliant interpretations of the world’s greatest orchestral music.

Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959.

Through unrivalled live performances and a vast recording output—highlights of which include the 1969 bestseller Vivaldi’s Four Seasons and the soundtrack to the Oscarwinning film Amadeus—the Academy quickly gained an enviable international reputation for its distinctive, polished and refined sound. With over 500 releases in a much-vaunted discography and a comprehensive international touring program, the name and sound of the Academy is known and loved by classical audiences throughout the world.

Today the Academy is led by music director and virtuoso violinist Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductor-less ensemble which has become an Academy hallmark. Under Bell’s direction, and with the support of Leader/Director Tomo Keller and Principal Guest Conductor Murray Perahia, the Academy continues to push the boundaries of play-directed performance to new heights, presenting symphonic repertoire and chamber music on a grand scale at prestigious venues around the globe.

In the 2018–19 season the Academy collaborates with artists including pianist Kit Armstrong, cellist Andreas Brantelid, pianist Jeremy Denk and violinist Julia Fischer for tours across Europe, the U.S., Mexico and Russia. The orchestra looks forward to celebrating its 60th anniversary in the 2019–20 season with exciting projects in the UK and beyond, including a special Gala Concert at London’s Queen Elizabeth Hall on November 12, 2019.

Complementing a busy international schedule, the Academy continues to reach out to people of all ages and backgrounds through its Learning and Participation programs. The orchestra’s composition and performance workshops in schools are soon to become intergenerational as local older people will be invited to join in; partnerships with Southbank Sinfonia, the Guildhall School of Music and Drama, the Royal Northern College of Music and master classes on tour further the development of the professional musicians of tomorrow; the Academy provides a creative outlet for some of London’s most vulnerable adults at a center for homeless people; and a regular program of pre-concert talks and podcasts create opportunities for Academy audiences the world over to connect and learn with the orchestra.

Facebook: /asmforchestra Twitter: @asmforchestra Instagram: /asmf_orchestra YouTube: /TheASMF SoundCloud: /asmf

JEREMY DENK PIANO Jeremy Denk is one of America’s foremost pianists. Winner of a MacArthur “Genius” Fellowship, and the Avery Fisher Prize, Denk was recently elected to the American Academy of Arts and Sciences. Denk returns frequently to Carnegie Hall and in recent seasons has appeared with the Chicago Symphony, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony and Cleveland Orchestra, as well as on tour with Academy St Martin in the Fields, and at the Royal Albert Hall as part of the BBC Proms.

In 2018–19, Denk embarks on a three-week recital tour of the U.S., including appearances in Washington, D.C., Seattle, Cleveland and Pittsburgh, and culminating in his return to Carnegie Hall. His orchestral highlights include playdirecting Mozart with the Toronto Symphony, and on tour throughout the U.S. with Academy of St Martin in the Fields.

He also returns to the Atlanta and Colorado Symphonies, and continues his work as artistic partner with the St. Paul Chamber Orchestra, opening the season directing Beethoven 5 from the keyboard.

In the same season, Denk reunites with his long time collaborators, Joshua Bell and Steven Isserlis, on an 11city tour of the U.S., including appearances in New York, Boston, Washington and San Francisco. He also performs and curates a series of Mozart Violin Sonatas (“Denk & Friends”) at Carnegie Hall. Further collaborations include performing the Ives violin sonatas at Tanglewood with Stefan Jackiw. Abroad, he returns to the Barbican in London to reunite with the BBC Symphony Orchestra, makes his debut with the City of Birmingham Symphony, and returns to the Helsinki Philharmonic. He also appears in recital in Europe, including his return to the Wigmore Hall as part of a three-year residency. His recording c.1300–c.2000 will be released by Nonesuch Records with music ranging from Guillaume de Machaut, Gilles Binchois and Carlo Gesualdo, to Stockhausen, Ligeti and Glass.

Denk graduated from Oberlin College, Indiana University and the Juilliard School. He lives in New York City, and his website and blog are at jeremydenk.net.

TOMO KELLER DIRECTOR Tomo Keller was born in Stuttgart in 1974, to GermanJapanese musicians, and started playing the violin at the age of 6. At 10 years old he gave his first performances with an orchestra. He studied at Vienna’s University for Music and Performing Arts and New York’s Juilliard School of Music.

Numerous top prizes and awards followed, at the Fritz Kreisler Competition, the Johannes Brahms Competition and the German Music Competition Berlin where he was awarded the Grand Prize. He was also the first instrumentalist to receive the Aalto Stage Prize for young musicians.

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He has since performed at major concert halls all around the world, most recently at the new Philharmonic Halls of Hamburg and Paris and has been invited both as soloist and chamber musician to music festivals such as the SchleswigHolstein Musik Festival, Mecklenburg-Vorpommern Festspiele and Festival de Musica Manuel de Falla. He has also been a frequent guest on radio and television broadcasts on ARD, BBC, NHK and ORF. As a soloist Keller has performed with the Beethovenhalle Orchestra Bonn, St Petersburg Camerata, London Symphony Orchestra, Radio Symphony Orchestra Berlin and the Vienna Symphony Orchestra. Concert tours have led him all across Europe, as well as Russia, Asia, America and the Middle East.

Keller is a much sought-after orchestral leader, having led the London Symphony Orchestra as assistant leader from 2009 to 2015. In 2014 he became first concertmaster of the Swedish

Radio Symphony Orchestra. He has also appeared with more than 20 orchestras as guest leader all over Europe, the U.S. and Asia. Keller was appointed leader of the Academy of St Martin in the Fields in December 2015.

Keller’s recordings include solo works by Bach, Bartók and Ysaÿe, orchestral recordings including Stravinsky’s Apollon musagète with Sir John Eliot Gardiner/LSO, and Avant Gershwin with Patti Austin and the WDR Big Band, which was awarded a Grammy in 2008.

He has given violin, chamber music and orchestral master classes at all major London Music Colleges as well as at Yale University and numerous other schools in the U.S. and the Far East.

Keller plays a violin by Guadagnini, Turin 1778, kindly made available to him by the Swedish Järnåker Foundation.

gateway Looking Back and Looking Forward

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his season, the Mondavi Center released the first edition of its magazine, Gateway. Mondavi Center Executive Director Don Roth’s contribution, “16 Years On: Reflections on Classical Music,” looks back on sentiments about the state of classical music in America that he shared at the Aspen Music Festival’s convocation in 2002:

“

My favorite New Yorker cartoon of all time says it all: a simple image of a sparse and ugly landscape, perhaps one of those New York vacant lots I remember as a kid—an old tire, a discarded pencil, a rusting can. The caption is straightforward: “Life without Mozart.” But it really is “life without music” that this image is all about. I know that music won’t solve the troubles of this world or make bad people good (indeed some of the most beautiful and uplifting music was written by some fairly unpleasant characters—just another of life’s mysteries).

But without music, we don’t

Cartoon appeared in The New Yorker on Dec. 17, 1979.

Drawing by Mick Stevens.

have a chance at evolving into the kind of people, the kind of civilization, with the richness of life that we need to counter the grim and macabre absurdities that are flooding our world. I believe that creating and making music, is a pursuit of great nobility and importance, as necessary and integral to a great society as the work done by doctors, scientists or business and political leaders. There is no real life without music and, just as important, there is no chance for enlightenment and growth. The rich mix once narrowly defined as Western classical music carries forward a tradition that is among the most magical in the world.

And yet, while so many of us believe this truth to be selfevident, we would be naïve if we didn’t recognize that we live in a society that consistently marginalizes classical music. By marginalization, I mean the notion that something—in this case, classical music—is seen as not relevant, important or vital. Our society sees classical music as the province of the rich, the old, the intellectual, and the social elite—not relevant to the lives of the so-called average person. This has important and negative results.

Probably most serious is that when school budgets get tight, music goes first on the chopping block long before athletics or home economics. While great literature is seen as central

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to the curriculum—who hasn’t read Julius Caesar in the 10th grade?—it is not likely that students will be taught to see Beethoven In the same light as Shakespeare—not only as important but familiar and central ...

Today, although we are a rich and prosperous nation in material terms, we are much less so in matters of the spirit. We keep moving faster and faster—we are rarely away from a kind of quick, faceless, shorthand communication. We are told that attention spans are growing ever shorter, but perhaps there is just not enough, in most of what is put before us, to hold our attention. In much of classical music, however, comes the opportunity for stretching, for the concentration, centering, and contemplation that we all need in order to realize our individual and collective potential on this beautiful but fragile planet ...

It is a tall order to shift the cultural paradigm of our country, so that classical music moves from the margins to the center of our collective experiences. What can each one of us involved in this great enterprise do?

First of all, let’s stop apologizing and rationalizing.

In particular, I think it is a big mistake to focus on non-musical reasons for the importance of classical music. Maybe Mozart may make you smarter, just as spinach We also need to may make you stronger. That realize that those certainly doesn’t make anyone like spinach. These are pretty of us who love shallow rationalizations for what classical music is in fact one of the most deeply powerful products of our human have actually soul and imagination. Music is helped to create at the core of who we are—back some of the to our New Yorker cartoon, without Mozart or Beethoven or attitudes that Stravinsky or Adams or Copland have contributed or so many others, our lives are to the current all greatly impoverished. Let us promote music for what it is and predicament. for its intrinsic value—an essential element in our human makeup. And the classical musical tradition provides the opportunity for some of the deepest and richest experiences of any available ...

We also need to realize that those of us who love classical music have actually helped to create some of the attitudes that have contributed to the current predicament...

There already is a large potential audience out there— well-educated, literate, and intelligent—for whom classical music is the most intimidating and distant of the arts, because it isn’t in their language and it doesn’t have a story. What that means is that at least some of the time, we are going to need to present our music differently—not dumb down the repertoire or patronize our audiences, but to intelligently provide a context for the music, to do everything we can to open ears and to create engaged listeners.

”

As the Academy of St Martin in the Fields celebrates its 60th anniversary, it is looking back on its past and revisiting some of its “firsts.” In touring with Jeremy Denk, the orchestra signals a delightfully forwardfacing approach to its retrospective celebration. Denk, a MacArthur “Genius” Fellowship winner, is known for playing that is both intellectually engaged and emotionally expansive. In addition, he has proven himself a great communicator about classical music and the life of a musician through his blog, articles in the New Yorker and various other media appearances. This combination of a revered ensemble and a progressive soloist, embodies the Mondavi Center’s belief that we can’t be content to produce the same thing over and over again in a way that only those who are already “in the classical music club” can understand; that is how great works become tired. Music of all varieties is constantly reinvigorated by those that perform it, a process that forges new paths for artists and audience members alike to engage with these treasures of humanity.

Read more about how Don Roth thought we could help classical music retain its relevance 16 years ago, and his assessment of how we’ve progressed towards that goal to date in his article, posted to the Mondavi Center blog and printed in Gateway magazine.

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Academy of St Martin in the Fields U.S. Tour with Jeremy Denk

VIOLIN I Tomo Keller, director Harvey de Souza Helen Paterson Robert Salter Martin Gwilym-Jones Alicja Smietana

ADMINISTRATION MUSIC DIRECTOR Joshua Bell FOUNDING PRESIDENT Sir Neville Marriner CH, CBE

VIOLIN II Martin Burgess Jennifer Godson Mark Butler Sijie Chen Richard Milone

PRINCIPAL GUEST CONDUCTOR Murray Perahia KBE LEADER/DIRECTOR Tomo Keller

VIOLA Robert Smissen Alexandros Koustas Martin Humbey Stephen Upshaw

CHIEF EXECUTIVE Alan Watt

CELLO Stephen Orton William Schofield Sarah Suckling Jane Oliver

CONCERTS AND TOURS MANAGER Richard Brewer

DOUBLE BASS Lynda Houghton Benjamin Russell

LIBRARIAN Katherine Adams

DIRECTOR OF CONCERTS Alison Tedbury

CONCERTS AND PARTICIPATION COORDINATOR Hattie Rayfield

LEARNING AND PARTICIPATION PRODUCER Charlotte O’Dair

OBOE David Thomas Rachel Ingleton

DIRECTOR OF DEVELOPMENT Andrew McGowan

HORN Stephen Stirling Timothy Brown

DEVELOPMENT MANAGER Amy Scott

ORCHESTRA MANAGER Nigel Barratt

FINANCE MANAGER David Hills PR CONSULTANT Rebecca Driver Media Relations FOR OPUS 3 ARTISTS David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division Robert Berretta, Vice President, Manager, Artists & Attractions Tania Leong, Associate, Touring Division Grace Hertz, Assistant, Artists & Attractions John C. Gilliland III, Company Manager

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COLORATURA CIRCLE

The Art of Giving The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons, whose gifts are a testament to the value of the performing arts in our lives.

$50,000 AND ABOVE James H. Bigelow Patti Donlon Wanda Lee Graves and Steve Duscha Barbara K. Jackson° M.A. Morris

IMPRESARIO CIRCLE $25,000–$49,999

Annual donations to the Mondavi Center directly support our operating budget and are an essential source of revenue. Please join us in thanking our loyal donors, whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.

For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.

John and Lois Crowe* Ann and Gordon Getty Foundation Anne Gray William and Nancy Roe* The Lawrence Shepard Family Fund

VIRTUOSO CIRCLE

$16,500–$24,999 Simon L. Engel of HDE Laser Technologies, Inc. Nancy McRae Fisher Mary B. Horton*

MAESTRO CIRCLE

$11,000–$16,499 Dr. Jim P. Back Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley* Chan Family Fund Thomas and Phyllis Farver* Benjamin and Lynette Hart* Clarence and Barbara Kado Dean and Karen Karnopp*

Nancy Lawrence and Gordon Klein Cliff Popejoy Grace and John Rosenquist Raymond Seamans and Ruth Elkins Tony and Joan Stone Helen and Jerry Suran Rosalie Vanderhoef* Shipley and Dick Walters*

BENEFACTOR CIRCLE $7,500–$10,999

Susie and Jim Burton Michael and Kevin Conn Richard and Joy Dorf Catherine and Charles Farman Janlynn Fleener and Cliff McFarland Samia and Scott Foster Andrew and Judith Gabor

This list reflects donors as of January 1, 2019.

* Friends of Mondavi Center

Hansen Kwok Garry Maisel Alice Oi Gerry and Carol Parker William Roth Darell J. Schregardus, Ph.D. Yin and Elizabeth Yeh

†Mondavi Center Advisory Board Member

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° In Memoriam

PRODUCER CIRCLE $3,750 - $7,499

Carla F. Andrews Lydia Baskin* Daniel Benson Cordelia S. Birrell Jo Anne Boorkman* Karen Broido* California Statewide Certified Development Corp.

Mike and Betty Chapman Wendy R. Chason* Sandy and Chris Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Bruce and Marilyn Dewey* Wayne and Shari Eckert* Allen and Sandy Enders Merrilee and Simon Engel Jolan Friedhoff and Don Roth In Memory of Henry (Hank) Gietzen In Memory of John C. Gist, Jr. Frederic and Pamela Gorin Ed and Bonnie Green* Charles and Ann Halsted John and Regi Hamel Judy Hardardt* Dee Hartzog Karen Heald and K.C. McElheney Donine Hedrick and David Studer Charles and Eva Hess In Memory of Christopher Horsley* In Memory of Flint and Ella In Memory of Nicolai N. Kalugin Teresa Kaneko* Barry and Gail Klein Jane and Bill Koenig Brian and Dorothy Landsberg Edward and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Linda Lawrence Allan and Claudia Leavitt Robert and Barbara Leidigh Nelson Lewallyn and Marion Pace-Lewallyn David and Ruth Lindgren Diane M. Makley* Yvonne L. Marsh Eldridge and Judith Moores Barbara Moriel Misako and John Pearson Linda and Lawrence Raber* Joanna Regulska and Michael Curry Warren Roberts and Jeanne Hanna Vogel* Roger and Ann Romani Liisa A. Russell Carol J. Sconyers Kathryn R. Smith Tom and Meg Stallard* Tom and Judy Stevenson* Brian K. Tarkington and Katrina Boratynski George and Rosemary Tchobanoglous Ed Telfeyan and Jeri Paik-Telfeyan In Memory of Trudy and Vera Betty° and Joe Tupin Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Claudette Von Rusten John Walker Patrice White Judy Wydick And 6 donors who prefer to remain anonymous

DIRECTOR CIRCLE $1,750 - $3,749

The Aboytes Family Ezra and Beulah Amsterdam Russell and Elizabeth Austin Drs. Noa and David Bell Robert and Susan Benedetti

Don and Kathy Bers* Edwin Bradley Richard Breedon, Pat Chirapravati, and Rosa Marquez Cantor & Company, A Law Corporation Margaret Chang and Andrew Holz Susan Chen Allison P. Coudert Jim and Kathy Coulter* Terry Davison Joyce Donaldson* Matt Donaldson and Steve Kyriakis Karl Gerdes and Pamela Rohrich David and Erla Goller Patty and John Goss Tim and Karen Hefler Sharna and Mike Hoffman Ronald and Lesley Hsu Martin and JoAnn Joye* Barbara Katz Nancy and John Keltner Robert and Cathryn Kerr Joseph Kiskis and Diana Vodrey Charlene R. Kunitz Thomas Lange and Spencer Lockson Mary Jane Large and Marc Levinson Francie and Artie Lawyer* Hyunok Lee and Daniel Sumner Lin and Peter Lindert Richard and Kyoko Luna Family Fund Natalie and Malcolm MacKenzie* Debbie Mah* and Brent Felker Dennis H. Mangers and Michael Sestak Susan Mann Rick and Ann Mansker In Memory of Allen G. Marr Betty Masuoka and Robert Ono Gary S. May In Memory of William F. McCoy Sally McKee Mary McKinnon and Greg Krekelberg Katharine and Dan Morgan Craig Morkert Augustus B. Morr Rebecca Newland John Pascoe and Susan Stover J. Persin, R. Mott and D. Verbck Prewoznik Foundation John and Judith Reitan Kay Resler* Marshall and Maureen Rice Dwight E. and Donna L. Sanders Christian Sandrock Ed and Karen Schelegle Neil and Carrie Schore Arun K. Sen Bonnie and Jeff Smith Janet Shibamoto-Smith and David Smith Edward Speegle Les and Mary Stephens De Wall Maril R. and Patrick M. Stratton Geoffrey and Gretel Wandesford-Smith Dan and Ellie Wendin Dale L. and Jane C. Wierman Susan and Thomas Willoughby Paul Wyman Karen Zito and Manuel Calderon de la Barca Sanchez And 2 donors who prefer to remain anonymous

ENCORE CIRCLE $700 - $1,749

Shirley and Mike Auman* Laura and Murry Baria In Memory of Marie Benisek Muriel Brandt Davis and Jan Campbell Gayle Dax-Conroy In Memory of Jan Conroy Dotty Dixon* Anne Duffey John and Cathie Duniway Robert and Melanie Ferrando Doris Flint Dr. Jennifer D. Franz Paul N. and E.F. (Pat) Goldstene

Florence Grosskettler* Mae and David Gundlach Robin Hansen and Gordon Ulrey Leonard and Marilyn Herrmann B.J. Hoyt James and Nancy Joye Louise Kellogg and Douglas Neuhauser Paul Kramer Paula Kubo Ruth M. Lawrence Michael and Sheila Lewis* Robert and Betty Liu Shirley Maus Janet Mayhew Robert Medearis Roland and Marilyn Meyer Nancy Michel Robert and Susan Munn* Don and Sue Murchison Robert and Kinzie Murphy John and Carol Oster Bonnie A. Plummer Celia Rabinowitz C. Rocke Ms. Tracy Rodgers and Dr. Richard Budenz Tom and Joan Sallee William and Jeannie Spangler* Elizabeth St. Goar Sherman and Hannah Stein Karen and Ed Street* Eric and Pat Stromberg* Dr. Lyn Taylor and Dr. Mont Hubbard Cap and Helen Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Rita and Jack Weiss Steven and Andrea Weiss* Kandi Williams and Frank Jahnke Gayle K. Yamada and David H. Hosley Wesley Yates Karl and Lynn Zender

Charles Kelso and Mary Reed Peter Kenner Ellen J. Lange Sevim Larsen Darnell Lawrence Carol Ledbetter Donna and Stan Levin Ernest and Mary Ann Lewis Robert and Patricia Lufburrow Sue MacDonald Bunkie Mangum Joan and Roger Mann Maria Manea Manoliu David and Martha Marsh Katherine F. Mawdsley* Susan and David Miller William and Nancy Myers Margaret Neu* Suzette Olson Frank Pajerski Sally Ozonoff and Tom Richey J. and K. Redenbaugh Eugene and Elizabeth Renkin David and Judy Reuben* Ron and Morgan Rogers Sharon and Elliott Rose* Bob and Tamra Ruxin Mark and Ita Sanders Roger and Freda Sornsen Tony and Beth Tanke Virginia Thresh Robert and Helen Twiss Ardath Wood Iris Yang and G. Richard Brown Chelle Yetman Jane Yeun and Randall Lee Ronald M. Yoshiyama Heather M. Young and Pete B. Quinby Verena Leu Young* Melanie and Medardo Zavala Drs. Matthew and Meghan Zavod

And 3 donors who prefer to remain anonymous

And 6 donors who prefer to remain anonymous

ORCHESTRA CIRCLE

MAINSTAGE CIRCLE

Jose and Elizabeth Abad Susan Ahlquist Drs. Ralph and Teresa Aldredge Takashi Asano Andrew and Ruth Baron Paul and Linda Baumann Marie Beauchamp Carol L. Benedetti Jane D. Bennett Ernst Biberstein Robert Biggs and Diane Carlson Biggs Patricia Bissell and Al J. Patrick Clyde and Ruth Bowman Brooke and Clay Brandow Meredith Burns Marguerite Callahan Gary and Anne Carlson* Bruce and Mary Alice Carswell* Simon and Cindy Cherry Dr. Jacqueline Clavo-Hall Stuart and Denise Cohen Mr. and Mrs. David Covin Larry Dashiell and Peggy Siddons Daniel and Moira Dykstra Nancy and Don Erman Kerstin and David Feldman Helen Ford Lisa Foster and Tom Graham Edwin and Sevgi Friedrich* Marvin and Joyce Goldman Dan Gusfield Darrow and Gwen Haagensen Sharon and Don Hallberg* Marylee Hardie Dione and Roy Henrickson Zheyla and Rickert Henriksen Paula Higashi and Fred Taugher Roberta Hill Michael and Peggy Hoffman Rita and Ken Hoots Jan and Herb Hoover Robert and Marcia Jacobs Valerie Jones Weldon and Colleen Jordan Susan Kauzlarich and Peter Klavins

M. Aften Michelle Agnew Liz Allen* Jacqueline and James B. Ames Penny Anderson Nancy Andrew-Kyle* Elinor Anklin and Geo Harsch Alex and Janice Ardans Dee Jae Arnett Antonio and Alicia Balatbat* Charlotte Ballard and Robert Zeff Charlie and Diane Bamforth Michele Barefoot and Luis Perez-Grau Dawn Barlly Carole Barnes Jonathan and Mary Bayless Lynn Baysinger* Delee and Jerry Beavers Lorna Belden and Milton Blackman Merry Benard Robert Bense and Sonya Lyons Kellyanne D. Best Dr. Louise Bettner Bevowitz Family Dr. Robert and Sheila Beyer Elizabeth A. Bianco Roy and Joan Bibbens* John and Katy Bill Sharon Billings* and Terry Sandbek Caroline and Lewis Bledsoe Fredrick Bliss and Mary Campbell Bliss Brooke Bourland* Barbara E. Bower Jill and Mary Bowers Verne and Jerry Bowers Melody Boyer and Mark Gidding Dan and Mildred Braunstein* Valerie Brown and Edward Shields Rose Burgis Dr. Margaret Burns and Dr. W Roy Bellhorn William and Karolee Bush Kent and Susan Calfee Edward Callahan The Richard Campbells Nancy and Dennis Campos* James and Patty Carey Ping Chan*

$350 - $699

* Friends of Mondavi Center

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$125 - $349

†Mondavi Center Advisory Board Member

°In Memoriam

Bonnie and LeRoy Chatfield Gail Clark Linda Clevenger and Seth Brunner James and Linda Cline Sheri and Ron Cole Steve and Janet Collins Terry D. Cook Sheila Cordrey* Larry and Sandy Corman Nicholas and Khin Cornes Fred and Ann Costello James Cothern Cathy Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Herb and Lois Cross Tatiana Cullen Kim Uyen Dao Joy and Doug Daugherty Nita A. Davidson Relly Davidson Judy and Mike Davis Fred Deneke and James Eastman Joan and Alex DePaoli Carol Dependahl-Ripperda Sabine Dickerson; Marietta Bernoco Linda and Joel Dobris Gwendolyn Doebbert and Richard Epstein Marjorie Dolcini* Gordon and Katherine Douglas Jerry and Chris Drane Leslie A. Dunsworth Noel Dybdal Karen Eagan Laura Eisen and Paul Glenn Sidney England and Randy Beaton Carol Erickson and David Phillips Wallace Etterbeek Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Janet Feil Cheryl and David Felsch Joshua Fenton and Lisa Baumeister John and Henni Fetzer Robin and Jeffrey Fine Curt and Sue Ann Finley Dave and Donna Fletcher Richard Fletcher Glenn Fortini Daphna Fram Marion Franck and Robert Lew Elaine A. Franco Anthony and Jorgina Freese Marlene J. Freid* Larry Friedman and Susan Orton Kerim and Josie Friedrich Myra Gable Sean Galloway Anne Garbeff* Nancy Gelbard and David Kalb P.E. Gerick Patrice and Chris Gibson* Barbara Gladfelter Ellie Glassburner Marnelle Gleason* and Louis J. Fox Mark Goldman and Jessica Tucker-Mohl Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart Joyce Gordon Karen Governor Halley Grain Sandra and Jeffrey Granett Jim Gray and Robin Affrime Stephen and Deirdre Greenholz Paul and Carol Grench Don and Eileen Gueffroy Abbas Gultekin and Vicky Tibbs Wesley and Ida Hackett* Myrtis Hadden Ann and Charles Haffer Bob and Jen Hagedorn Jane and Jim Hagedorn Kitty Hammer William and Sherry Hamre M. and P. Handley Jim and Laurie Hanschu Bob and Sue Hansen Alexander and Kelly Harcourt Marie Harlan* Sally Harvey* Anne and Dave Hawke Mary A. Helmich Penny Herbert and Jeff Uppington Rand and Mary Herbert Dr. Calvin Hirsch Pamela Holm Jack Holmes and Cathy Neuhauser

Elizabeth Honeysett Sarah and Dan Hrdy Pam Hullinger David Kenneth Huskey Lorraine J Hwang L. K. Iwasa Stephen Jacobs and Diane Moore Dr. and Mrs. Ron Jensen Mun Johl Gary and Karen Johns* Don and Diane Johnston Michelle Johnston and Scott Arrants D.M. Jonsson Family Andrew and Merry Joslin Shari and Timothy Karpin Patricia Kelleher* Michael S. Kent Sharmon and Peter Kenyon Leonard Keyes Nicki King Roger and Katharine Kingston Ruth Ann Kinsella* Camille Kirk Bob and Bobbie Kittredge Don and Bev Klingborg John and Mary Klisiewicz* Michael Koltnow Kerik and Carol Kouklis Sandra and Alan Kreeger Marcia and Kurt Kreith Sandra Kristensen Cynthia and Roy Kroener C.R. and Elizabeth Kuehner Kupcho-Hawksworth Trust Leslie Kurtz Laura and Bill Lacy Kit and Bonnie Lam* Allan and Norma Lammers Marsha Lang Larkin Lapides Diane and Renzo Lardelli Nancy Lazarus and David Siegel Peggy Leander* Evelyn A. Lewis Jeff Lloyd Motoko Lobue Dr. Joyce A. Loeffler Mary Lowry Karen Lucas* Melissa Lyans and Andreas Albrecht Ariane Lyons Jeffrey and Helen Ma Judy Mack* David and Alita Mackill Karen Majewski Vartan Malian and Nova Ghermann Julin Maloof and Stacey Harmer T. Mann Pam Marrone and Mick Rogers J. A. Martin Leslie Maulhardt* Carole Mayer Keith and Jeanie McAfee Karen McCluskey* and Harry Roth* James and Jane McDevitt Nora McGuinness* John and Andrea McKenna Tim and Linda McKenna Martin A. Medina and Laurie Perry Linda and Joe Merva Cynthia Meyers Beryl Michaels and John Bach Leslie Michaels and Susan Katt Jean and Eric Miller Lisa Miller Sue and Rex Miller Kei and Barbara Miyano Vicki and Paul Moering Hallie Morrow Marcie Mortensson Rita Mt. Joy* Robert and Janet Mukai Bill and Anna Rita Neuman Robert Nevraumont and Donna Curley Nevraumont* R. Noda Jay and Catherine Norvell Bob Odland and Charlotte Kelly Jeri and Clifford Ohmart Jim and Sharon Oltjen In Memory of Robert Orlins Mary Jo Ormiston* John and Nancy Owen Jessie Ann Owens Mike and Carlene Ozonoff Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos

Dianne J. Pellissier Erin Peltzman Ann Peterson and Marc Hoeschele Jill and Warren Pickett Jane Plocher Mrs. Merrilee A Posner Harriet Prato Otto and Lynn Raabe Olga Raveling Sandi Redenbach* and Ken Gelatt Fred and Martha Rehrman* Francis Resta Russ and Barbara Ristine Jeannette and David Robertson Denise Rocha Mary and Ron Rogers Carol and John Rominger Richard and Evelyne Rominger Janet Roser Shery and John Roth Cathy and David Rowen* Cynthia Jo Ruff* Paul and Ida Ruffin Dagnes/Vernon Ruiz Jacquelyn Sanders Elia and Glenn Sanjume Fred and Pauline Schack John and Joyce Schaeuble Patsy Schiff Leon Schimmel and Annette Cody Dan Shadoan and Ann Lincoln Jay and Jill Shepherd Bruce Sheridan Jeanie Sherwood Jennifer L. Sierras Jo Anne S. Silber Teresa Simi Robert Snider and Jak Jaras Jean Snyder Ronald and Rosie Soohoo Curtis and Judy Spencer Dolores and Joseph Spencer Marguerite Spencer Alan and Charlene Steen Tim and Julie Stephens Judith and Richard Stern Deb and Jeff Stromberg A Supporter George and June Suzuki Yayoi Takamura Stewart and Ann Teal Julie A. Theriault, PA-C Virginia Thigpen Bud and Sally Tollette Ann Tom Victoria and Robert Tousignant` Justine Turner* Ute Turner* Sandra Uhrhammer* Peter Van Hoecke Ann-Catrin Van Barbara Smith Vaughn* Marian and Paul Ver Wey Elizabeth Villery Richard Vorpe and Evelyn Matteucci Craig Vreeken and Lee Miller Maxine Wakefield and William Reichert Carol L. Walden Andrew and Vivian Walker Naomi J Walker Andy and Judy Warburg Don and Rhonda Weltz* Doug West Martha West Robert and Leslie Westergaard* Nancy and Richard White* Mrs. Jane Williams Sharon and Steve Wilson Janet G. Winterer Suey Wong* Jean Wu Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Dorothy Yerxa and Michael Reinhart Phillip and Iva Yoshimura Phyllis and Darrel Zerger* Marlis and Jack Ziegler Timothy and Sonya Zindel Linda and Lou Ziskind Dr. Mark and Wendy Zlotlow And 27 donors who prefer to remain anonymous

Artistic Ventures Fund

We applaud our Artistic Ventures Fund members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies, and programs made available free to the public.

James Bigelow Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf Nancy McRae Fisher Wanda Lee Graves and Steve Duscha Anne Gray Barbara K. Jackson° Rosalie Vanderheof

Legacy Circle

Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful.

Wayne and Jacque Bartholomew Karen Broido Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Nancy Dubois° Anne Gray Benjamin and Lynette Hart L. J. Herrig Estate° Mary B. Horton Margaret Hoyt Barbara K. Jackson° Roy and Edith Kanoff° Robert and Barbara Leidigh Yvonne LeMaitre° Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Ruth R. Mehlhaff° Joy Mench and Clive Watson Trust Verne Mendel Kay Resler Hal° and Carol Sconyers Joe and Betty° Tupin Lynn Upchurch 1 Anonymous If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation.

If you are interested in learning about planned giving opportunities, please contact Nancy Petrisko, Director of Development, 530.754.5420 or npetrisko@ucdavis.

Thank you to the following donors for their special program support.

Young Artists Competition and Program

Jeff and Karen Bertleson Karen Broido John and Lois Crowe Merrilee and Simon Engel Mary B. Horton Barbara K. Jackson° Debbie Mah Linda and Lawrence Raber

Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. * Friends of Mondavi Center

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†Mondavi Center Advisory Board Member

°In Memoriam

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